Atelier » 11th exhibition of Boiler Group- The artist touch

 

11th exhibition of Boiler Group- The artist touch

18/12/2016

 

The touch, the sense that dominates the first human interactions with the surrounding world, is in this exhibition, curated by Doina Malanciuc, the main point of con-tact between the artists of Boiler Group and the visitors of 'The Artist Touch '. A tactile exhibition focused on the rediscovery of the three-dimensionality of the artworks, of which the third dimension is related to the artist himself; and the need to regain a look which has become sterile in the artistic world that is the tangible substance through which the artistic impulse is expressed. The idea that is intended to be highlighted with this exhibition, is the appreciation of one of the primordial senses of the human being. Therefore it becomes essential the need to expose and predispose to touch and cross contamination the artists and observers of the artworks. Touch and being touched, contaminate and being contaminated; that is how the public is understood as an integral part of the route in order to break down the invisible wall that causes to many a barren enjoyment of art. Bruno Munari wrote: 'All humans, at birth, are provided with a multi-sensorial apparatus, by nature. Over the years, much of this apparatus is atrophied because the individual, for the development of knowledge, gives the prevalence to logic and literature. It must be activated again, this apparatus that makes us know stairs of tactile values, sounds, thermic, material, hardness and softness, roughness and smoothness, of impenetrability, of balance and static, of lightness and heaviness, of fragility and solidity ... all values, which explained in words become complicated and almost incomprehensible topics.' Active protagonist in the art of the twentieth century, he published in 1931 his book-work Tactile-Table, ten years after the appearance of the Manifesto of Tactilism by Filippo Marinetti. The ultimate goal of the exhibition is to place ourselves once again questions such as: 'Why a piano shown in a Biennial cannot be played?'; or 'Why a felt hanging on the wall can only be imagined as soft and warm, or rough and prickly?'; yet, very often, the artist creates his intervention with the intent to subject the visitor to an interactive journey and not a simple view of a relocated object. It will be offered to visitors of the Françoise Calcagno Art Studio a sensory journey closely linked to the touch, where their presence is essential to complete the work of art and the artist's thought.